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Kelefa Sanneh

Kelefa Sanneh

Staff Writer at The New Yorker

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United States
Covering topics
  • Sports
Languages
  • English
Influence score
57
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Kelefa Sanneh
newyorker.com

How Far Should We Carry the Logic of the Animal-Rights Movement? - The New Yorker

There is a name for the cruel, and correspondingly clandestine, process by which many animals become meat: “factory farming,” a term that is usually wielded as an insult, especially since the publication, in 1975, of “Animal Liberation,” an incendiary book by the philosopher Peter Singer. “In general, we are ignorant of the abuse of living creatures that lies behind the food we eat,” Singer wrote, and he wanted to destroy both this ignorance and the industry behind the abuse. He halfway succeede…
newyorker.com

An Acclaimed D.J. Who Is Ready to Sing Again - The New Yorker

Kirby portrays her musical story as a mutation of a childhood dream. As a girl, she was obsessed with Britney Spears and other pop stars, and convinced that she was destined to become one. She moved to London, from her native Cardiff, and began working as a singer and songwriter for hire; in 2013, she collaborated with a producer known as Kat Krazy on a dance-floor hit called “Siren,” which had a wistful lyric (“Together, we can break down the walls / Can you hear the siren call?”) and a pumping…
newyorker.com

Ian Munsick Puts the Western Back in Country - The New Yorker

“This is the bolo I gave you,” he said. “I know,” she said. “But it looks good with your outfit.” Munsick cinched the black bolo, gathered his band members for a brief prayer, and then headed out to the stage, where four thousand people were waiting. In some sense he was in his element: Munsick is a country singer, and the Grand Ole Opry is a country institution, bringing together stars of varying magnitudes to join in its long-running revue. But part of Munsick’s considerable appeal is that he…
newyorker.com

Sarah Isgur's Majority Report - The New Yorker

This exchange reflected the peculiar world of the Supreme Court, where highly charged issues are often transformed into complicated technical problems, and where a quaint collegiality reigns. But some people thought the exchange also reflected something else: the influence of a quirky legal podcast called “Advisory Opinions,” which in the past four years has evolved from a genial chat show into a singularly incisive running commentary on the state of American law. Its host is Sarah Isgur, an ext…
newyorker.com

The Weird, Enduring Appeal of Tool - The New Yorker

Back then, bands such as these were often classified as “alternative,” a rather vague and cringeworthy term that nevertheless turned out to be a pretty good description of Tool, which has spent the past three decades building an impressive following, and legacy, by stubbornly refusing to act the way rock bands are supposed to. Maynard James Keenan, the lead singer, is a soft-spoken but prickly presence: in one old interview, broadcast on MTV Europe, he described his life on tour as “one great bi…
newyorker.com

How Francis Ngannou Shocked the Boxing World - The New Yorker

Is boxing bullshit? The sport itself seems fairly empirical: two people punch each other for about half an hour, or for as long as they can; judges determine, if it’s not obvious, who punched better. And so the conventional wisdom is that pitting a boxer against an M.M.A. fighter will generally produce a predictable outcome: the M.M.A. fighter would win an M.M.A. fight, where wrestling and kicks are allowed (indeed, encouraged), but the boxer would win a boxing match just as easily, because M.M.…
newyorker.com

Shane Gillis's Fall and Rise - The New Yorker

For a provocative comic, losing the job of a lifetime was the beginning of a second act.

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newyorker.com

Petey's Earnest Songs and Absurd TikToks - The New Yorker

He has become famous online for silly and sweet comedy videos. Now fans are discovering his music.
newyorker.com

The Education of a Part-Time Punk - The New Yorker

Learning to love music—and to hate it, too.
newyorker.com

The Spaced-Out Jazz of Sam Gendel and Sam Wilkes - The New Yorker

The group blurs the line between jazz duo and electronic-production team, providing listeners with not many notes but plenty of vibes.
newyorker.com

How Olivia Rodrigo Became Pop's Brightest New Star - The New Yorker

On “Sour,” Rodrigo delivers eleven semisweet songs, almost all of them about love gone wrong.